By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820- 1823 were these last three piano sonatas. Even when compared to these imposing works, the "E major Piano Sonata" retains it's status of a masterpiece. With Gould, you'll get excellent interpretations of some of the lesser known works. Even when a movement runs off track, you sense the pianist's excitement and good humor. These are some of the cleanest and most musical performances of Beethoven's last three sonatas ever recorded.

'La Boh�me' is one of the most bewitching of operas, with it's smooth lines, poignant libretto, and sheer musicality. One of Puccini's masterpieces, of course. This is the version featuring Maria Callas as Mimi, supported by a fine cast. Giuseppe Di Stefano sang Rodolfo, Rolando Panerai took the role of Marcello, and Anna Moffo sang Musetta. The key to whether or not 'La Boh�me' satisfies, of course is the quality of the singing and orchestral support. The coupling of Di Stefano and Callas in this recording is close to perfection. Anna Moffo's voice is in it's glorious youthful richness and with an excellent La Scala Orchestra under the baton of Antonino Votto this is one of the most interesting recorded versions of 'La Boh�me' ever!

PLAYS BEETHOVEN CONCERTO 2 & BACH CONCERTO 1

The Rite of Spring: Scenes from Pagan Russia in Two Parts. It was Igor Stravinsky who dragged classical music, kicking and screaming, into the twentieth century. Sure, his contemporaries had paved the way. No longer was the Romantic melody-rich work the dominant force. The new way was about orchestral colors and tone painting. But it was Stravinsky who broke altogether with the Romantic past and created Modernism. It was almost as if all the old rules had not just been bent but completely destroyed. In the modern world, anything goes. Stravinsky made a name for himself at a very early age. In his twenties, his work, Fireworks brought him to the attention of Serge Diaghilev, director of the Ballet Russes, who commissioned from Stravinsky a ballet based on the Firebird legend. It was a huge success and Diaghilev commissioned two more. The results were Petrouchka and The Rite of Spring. The story of the premier of The Rite of Spring is famous. The audience was first treated to Les Sylphides, a ballet based on the music of Chopin. The Rite of Spring was to follow. No doubt lulled into a pleasant, dreamy state by the earlier work, and expecting something similarly pastoral with the Rite, named after all about the most pleasant of seasons, they were in for a rude shock. A clue comes from it's subtitle: Scenes from Pagan Russia. It opened with a bassoon bleating way higher than any bassoon was ever supposed to go and then descended into 30 minutes of barbarism and pagan ritual sacrifice. The music was jarring, dissonant, difficult. The huge percussion sections pounded out primitive rhythms, and Nijinsky's provocative choreography challenged the audience's sensibilities. This version was recorded at the Ballroom of the St. George Hotel, Brooklyn, NY, January 5 & 6, 1960 with The Columbia Symphony Orchestra. TRACKLIST: SIDE A: Premier Tableau : L'adoration de la Terre Part 1 - Adoration Of The Earth 1. Introduction 2. Augures Printaniers - Danses Des Adolescentes 3. Jeu Du Rapt 4. Rondes Printanieres 5. Jeu Des Cites Rivales 6. Cortege Du Sage 7. Le Sage 8. Danse de la Terre SIDE B: Second Tableau: Le Sacrifice Part 2 - The Sacrifice 1. Introduction 2. Cercles Mysterieux Des Adolescentes 3. Glorification de L'elue 4. Evocation Des Ancetres 5. Action Rituelle Des Ancetres 6. Danse Sacrale (L'elue)

Immerse yourself in the tranquil beauty of the countryside with Beethoven's beloved "Pastoral" Symphony, brought vividly to life by Herbert von Karajan and the legendary Berlin Philharmonic Orchestra. This exquisite 1LP release captures one of the most iconic interpretations of Beethoven's Sixth Symphony, a deeply expressive, masterfully balanced performance that has stood the test of time. From the gentle rustle of the first movement to the dramatic storm and the joyful, hymnlike finale, Karajan's interpretation is both intimate and grand, revealing new emotional depths in every listen.

Vladimir Horowitz brings on this LP together some of the most powerful and poetic piano works from the Romantic era, all performed in New York City during the spring of 1962. Side A dives into "Chopin's Piano Sonata No. 2". Horowitz brings out all the drama, beauty, and intensity you'd expect-and more. Side B brings you two of Rachmaninov's "�tudes-Tableaux" and Schumann's delicate and dreamy "Arabesque" and Liszt's "Hungarian Rhapsody No. 19", played with flair and fire. It's a perfect snapshot of Horowitz in his prime.

Vinyl LP pressing. As far as B-3 Hammond organ is concerned, Jimmy Smith is the greatest ever at that instrument. Like the best recordings of the greatest period for improvisational jazz that lasted from about 1950 to the late 1960's, The Sermon is only one example of the numerous sessions that many top notch players gathered for, taking turns as leaders and sidemen. On The Sermon, Smith is accompanied by the likes such as Kenny Burrell, Lee Morgan, Lou Donaldson, Tina Brooks and Art Blakey. It was produced by Rudy Van Gelder for Blue Note, and was Smith's fifteenth album in three years. The Sermon is a bebop-hardbop masterclass and at least a decade ahead of it's time.

Some miracles get broken up into small bits, leaving fate, circumstance and the right people at the right time to reconstruct them. That John Coltrane played with Thelonious Monk in 1957 remains one of those astounding miracles. The album contains three unforgettable tracks featuring Monk and Coltrane grooving away beautifully. "Ruby, My Dear" contains a mellow, lush feel suitable for sitting back, "Trinkle, Tinkle," a definitely interesting Monk-ish title, showcases Coltrane's insane chops and "Nutty," one of Monk's most beguilingly catchy tunes. Thelonious Monk and John Coltrane melded together inexplicably and created some of the most amazing tracks ever laid down in the name of jazz. The album contains 2 Bonus tracks.

A great concert by the Basie band recorded 'LIVE' in the summer of 1956 in Gothenburg, Sweden. The rhythm section, with the great Freddie Green, Eddie Jones and Sonny Payne is the ultimate basic of the band, and, of course, the key man here is The Count himself. All musicians at the top of their games, the crowd is fanatically enthusiastic and the band returns their enthusiasm in full. Here is Basie's band at it's best! With Joe Williams, the band backs the erudite deep-throated singer on a choogling "Alright, Okay, You Win," the quick "Roll 'Em Pete" and "The Comeback." This is the great Count Basie band in a classic time period, playing many well- known, long-lasting, and beloved tunes that everybody will recognize.

Paul Chambers Jr. (1935-1969) was a jazz double bassist who was the anchor for trumpeter Miles Davis for eight years. Chambers' contribution on "Kind Of Blue" is considered to be some of the most rhythmically and harmonically supportive bass playing in the history of jazz. Chambers' masterpiece 'Bass On Top' opens with "Yesterdays" which has some of the most beautiful bowed bass you can hear, with a sensitive but subtle support from Kenny Burrell, Hank Jones, and Art Taylor. "Dear Old Stockholm" is a another great beauty. (Also recorded on Davis' 'Round Midnight', with a great Paul Chambers solo). "I'm Confessin' That I Love You" is essential Paul alone for four minutes of pure beauty.

Limited edition 180-gram velvet purple colored vinyl. Clap Hands, Here Comes Charlie! Is a studio album by The First Lady Of Song and Queen Of Jazz, Ella Fitzgerald. Featuring Lou Levy on piano, Herb Ellis on Guitar, Joe Mondragon on bass and Gus Johnson on drums. This LP is recorded on June 22 & 23, 1961 in Los Angeles.

The phrase "Once in a lifetime" is sometimes used carelessly to accentuate the importance of an event. But it was truly a unique occasion when the orchestras of Duke Ellington and Count Basie got together in the studio to record together for the first (and last) time. The Duke Ellington and Count Basie (both playing the piano) orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. The result is almost an embarrassment of riches. Limited edition on solid orange & solid white vinyl.

Sonny Clark is one of the long list of fine jazz musicians who died too young. He died at age 31. This album from 1957 excellently captures what was the definition of jazz at that time, and this became one of the best jazz albums of all time. Sonny Clark's playing on this album has the sound of beautiful perfection, and (along with the great work of Paul Chambers on bass and 'Philly' Joe Jones on drums) the playing really swings. Sonny shines on "Tadd's Delight" and "I Didn't Know What Time It Was" with the crisp support from Chambers and 'Philly' Joe. He takes on the challenge of 'Be-bop', a very difficult tune, and pulls it off with his typical Sonny Clark touch.

This 2LP set brings you the LP "Forbidden Fruit" & the LP "At Newport" by Nina Simone. "Gin House Blues" is later re-recorded in a more upbeat way. "Work Song", written by Oscar Brown, Jr. And Nat Adderley tells the story of a chain gang. The title song "Forbidden Fruit" is an humorous up-tempo take on Adam and Eve was part nursery rhyme, part call and response. Nina was supported by Al Shackman (piano), Chris White (Guitar), Bobby Hamilton (Bas) by both performances. "At Newport" is another fine Nina live show, starting off with blues and a stunning reading of "Porgy". She then uses her major spot at Newport jazz festival to show off her diversity going into folk, rhythmic jams and an instrumental version of "You'd Be So Nice To Come Home To" that is almost like a classical recital.

On the 'Swingin' Easy' side (A) Sarah croons away like a well-seasoned horn in a jazz bar at two in the morning. This magical set opens with "Shulie A Bop," enjoy how she scats on this number! Sarah is backed by John Malachi on piano, Joe Benjamin on bass (with the exception of 4 tracks with Richard Davis) and Roy Haynes on drums. Side one was originally released in 1954 as a 10-inch LP entitled 'Images'. With the 'Birdland Broadcast' recordings on side two, "Pennies From Heaven" offers Sarah yet another opportunity to show off her swinging, jazzy and soulful vocal talents as she sings this to perfection. "Linger Awhile" opens with a brief jam and Sarah uses her voice as a musical instrument to jam right along with them.

The Firebird is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for it's owner. The Firebird's mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando, and flutter-tonguing. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird. Recorded in 1961 by The Columbia Symphony Orchestra. This version in limited pressed on Solid Orange vinyl.

Experience the timeless elegance of Bossa Nova with Luz de Corcovado, a newly compiled vinyl celebrating the genius of Jo�o Gilberto, affectionately known in Brazil as O Mito ("The Legend"). Gathering his most iconic early recordings, this collection captures the pure essence of the man who laid the foundations of Bossa Nova. From the tender intimacy of "Corcovado" and "Chega de Saudade" to the gentle swing of "Desafinado" and "Bim Bom", widely considered the very first Bossa Nova song, every track radiates Gilberto's unmatched grace and rhythmic subtlety. Pressed on high-quality vinyl, Luz de Corcovado invites you to rediscover the soft pulse and poetic warmth that changed Brazilian music forever.

Experience the groundbreaking evolution of Arvo P�rt with this remarkable 2LP set featuring his seminal works. Opening with Tabula Rasa (1977), a concerto for two violins, prepared piano, and string orchestra, including the evocative movements Ludus and Silentium, this album journeys through P�rt's early avant-garde phase with Symphony No. 1 "Poliphonic" (1964) featuring Kanons and Prelude and Fugue. Also included is the intricate Collage on a Theme B-A-C-H (1964) with Toccata, Sarabande, and Ricercar, alongside the intense Pro et Contra (1966), a concerto for cello and orchestra dedicated to Mstislav Rostropovich, showcasing the dramatic Maestoso, Largo, and Allegro movements. A powerful testament to P�rt's innovative spirit and a must-have for fans of modern classical and avant-garde music.

BODY & SOUL: LEGENDARY LADIES OF JAZZ - RED VINYL

A landmark recording by the legendary Glenn Gould, this LP showcases his brilliant interpretations of Bach's Italian Concerto in F Major, BWV 971 and the first two Partitas (BWV 825 & BWV 826). Recorded in New York City in 1959, these performances reflect Gould's signature clarity, precision, and emotional depth. From the lyrical Andante of the Italian Concerto to the spirited Capriccio of Partita No. 2, this is Bach reimagined by one of the 20th century's greatest pianists.

A landmark in jazz history, Time Out (1959) by the Dave Brubeck Quartet broke conventions with it's bold exploration of unusual time signatures. From the fiery 9/8 rhythm of "Blue Rondo � la Turk" to the cool, hypnotic 5/4 pulse of "Take Five", this album fuses complexity with accessibility. "Strange Meadow Lark" and "Three to Get Ready" blend lyrical piano with dynamic interplay, while "Kathy's Waltz", "Everybody's Jumpin'", and "Pick Up Sticks" round out Side B with vibrant energy and rhythmic innovation. A timeless classic that redefined modern jazz.